2016 Building List

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ARC 331/435 Spring 2016 3. THE ENGLISH ARTS AND CRAFTS MOVEMENT (CONT.) 5. “THREE AMERICAN ARCHITECTS” 4. LEGACIES OF THE ARTS & CRAFTS MOVEMENT IN THE US cf. James O’Gorman Public Buildings H. H. Richardson in Chicago Mary Watts. Watts Memorial Chapel, Compton, Surrey (England): 1895 John J. Glessner House, Chicago: 1885 G. Enoch Gregson, Church of All Hallows, Allerton, Liverpool (England): Marshall Field Wholesale Store, Chicago: 1885 1876 Glass by Edwin Burne-Jones Louis Sullivan and the function of ornament HH Richardson. Trinity Church, Boston: 1873-77 some glass: Edward Burne-Jones, assembled by William Morris & Co; Cf. Sullivan, “Ornament in Architecture” murals: John La Farge Adler and Sullivan. Auditorium Theatre, Chicago: 1887 Dean & Woodward. Oxford Natural History Museum (England): 1861 Adler & Sullivan. Wainwright Building, St. Louis: 1890 Lancelot Sukert. Scarab Club, Detroit: 1928 Sullivan. Charnley House, Chicago: 1891 Houses Frank Lloyd Wright and the Prairie School Philip Webb. Red House, Bexleyheath, Kent (England): 1860s (review) “The Art and Craft of the Machine” (Chicago Arts and Crafts Society, 1901) Morris & Co. interiors Webb. Standen, Surrey (England): 1892 W. H. Winslow House, River Forest IL: 1893 Some Morris & Co. interiors; also Liberty of London Moore-Dugal House, Oak Park: 1895 C.F.A. Voysey. Norney Grange, nr. Shackelford (England): 1897 Heurtley House, Oak Park: 1902 Robie House, Chicago: 1909 Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright The Stick & Shingle Styles in the US (the “Wasmuth Portfolio”), 1910 drawings by Marian Mahony (Mahony-Griffin) Richard Morris Hunt. Griswold House, Newport RI: 1864 H. H. Richardson. William Watts Sherman House, Newport RI: 1875 Terminology McKim, Mead & White. Isaac Bell House, Newport: 1883 Joseph Lyman Silsbee. Upland Farm, Solvay NY: 1891 Arts and Crafts Silsbee. John F. Palmer Residence, Riverside IL: 1895 bungalow Frank Lloyd Wright. Wright Home & Studio, Oak Park IL: 1889/1898 Colonial Revival Constructional polychromy Bungalows Japonisme “Lesser Arts” Greene and Greene. David B. Gamble House, Pasadena CA: 1909 Prairie Style/School “Bungalow Heaven,” Pasadena: ca. 1900-30s Queen Anne (Style) “The Bungalow Belt,” Chicago: ca. 1910s-40s Richardsonian Romanesque Shingle style Stick style terra cotta Victorian Gothic .

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QUES in ARCH HIST I Jump to Today Questions in Architectural History 1
[email protected] - QUES IN ARCH HIST I Jump to Today Questions in Architectural History 1 Faculty: Zeynep Çelik Alexander, Reinhold Martin, Mabel O. Wilson Teaching Fellows: Oskar Arnorsson, Benedict Clouette, Eva Schreiner Thurs 11am-1pm Fall 2016 This two-semester introductory course is organized around selected questions and problems that have, over the course of the past two centuries, helped to define architecture’s modernity. The course treats the history of architectural modernity as a contested, geographically and culturally uncertain category, for which periodization is both necessary and contingent. The fall semester begins with the apotheosis of the European Enlightenment and the early phases of the industrial revolution in the late eighteenth century. From there, it proceeds in a rough chronology through the “long” nineteenth century. Developments in Europe and North America are situated in relation to worldwide processes including trade, imperialism, nationalism, and industrialization. Sequentially, the course considers specific questions and problems that form around differences that are also connections, antitheses that are also interdependencies, and conflicts that are also alliances. The resulting tensions animated architectural discourse and practice throughout the period, and continue to shape our present. Each week, objects, ideas, and events will move in and out of the European and North American frame, with a strong emphasis on relational thinking and contextualization. This includes a historical, relational understanding of architecture itself. Although the Western tradition had recognized diverse building practices as “architecture” for some time, an understanding of architecture as an academic discipline and as a profession, which still prevails today, was only institutionalized in the European nineteenth century.
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Muse2016v50p75-89.Pdf (4.825Mb)
Fallen Angel A Case Study in Architectural Ornamentation w. arthur mehrhoff According to the late anthropologist James Deetz, we can decode cultural meanings from the past most fully by studying “small things often overlooked and even forgotten.”1 While architectural historians often train their scholarly lenses on landmark buildings and structures, vernacular objects such as doorways, gravestones, and even discarded architectural orna- ments offer students of culture a kind of intellectual “mortar” that can help them fit larger structures to- gether into a conceptual whole.2 The Museum of Art and Archaeology’s winged terracotta figure, a splendid example of architectural ornament and a survivor of urban redevelopment, was one of a series of similar figures that originally graced the elaborate frieze of the 1898 twelve-story Title Guaranty Building, one of the earliest tall office buildings in downtown St. Louis. The building, known at its construction as the Lincoln Trust Building, was destroyed in 1983. The Fallen Angel The figure stands facing to the front with arms crossed at her waist (Fig. 1 and back cover).3 Constructed in three parts–base and lower part of a plinth, upper half of plinth, and upper body–she Fig. 1. Architectural winged figure in high relief, 1898, terra- cotta. H. 2.140 m. From the Title Guaranty Building (originally the Lincoln Trust Building), St. Louis, Missouri. Museum of Art and Archaeology, University of Missouri (84.109a–c), gift of Mr. and Mrs. Mark A. Turken and Mr. and Mrs. Paul L. Miller, Jr. Photo: Jeffrey Wilcox. 75 FALLEN ANGEL Fig. 2.
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CHARNLEY, JAMES, HOUSE Ot
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 CHARNLEY, JAMES, HOUSE Page 1 United States Department of the Interior, National Park Service_____________________________________National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: CHARNLEY, JAMES, HOUSE Other Name/Site Number: CHARNLEY-PERSKY HOUSE 2. LOCATION Street & Number: 1365 North Astor Street Not for publication: City/Town: Chicago Vicinity: State: IL County: Cook Code:031 Zip Code:60610-2144 3. CLASSIFICATION Ownership of Property Category of Property Private: X_ Building(s): X Public-Local: __ District: __ Public-State: __ Site: __ Public-Federal: Structure: __ Object: __ Number of Resources within Property Contributing Noncontributing 1 __ buildings __ sites __ structures __ objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of Related Multiple Property Listing: N/A NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 CHARNLEY, JAMES, HOUSE Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this X nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property __ meets __ does not meet the National Register criteria.
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A Historical Bibliography of Commercial Architecture in the United States
A HISTORICAL BIBLIOGRAPHY OF COMMERCIAL ARCHITECTURE IN THE UNITED STATES Compiled by Richard Longstreth, 2002; last revised 7 May 2019 I have focused on historical accounts giving substantive coverage of the commercial building types that traditionally distinguish city and town centers, outlying business districts, and roadside development. These types include financial institutions, hotels and motels, office buildings, restaurants, retail and wholesale facilities, and theaters. Buildings devoted primarily to manufacturing and other forms of production, transportation, and storage are not included. Citations of writings devoted to the work of an architect or firm and to the buildings of a community are limited to a few of the most important relative to this topic. For purposes of convenience, listings are divided into the following categories: Banks; Hotels-Motels; Office Buildings; Restaurants; Taverns, etc.; Retail and Wholesale Buildings; Roadside Buildings, Miscellaneous; Theaters; Architecture and Place; Urbanism; Architects; Materials-Technology; and Miscellaneous. Most accounts are scholarly in nature, but I have included some popular accounts that are particularly rich in the historical material presented. Any additions or corrections are welcome and will be included in updated editions of this bibliography. Please send them to me at [email protected]. B A N K S Andrew, Deborah, "Bank Buildings in Nineteenth-Century Philadelphia," in William Cutler, III, and Howard Gillette, eds., The Divided Metropolis: Social and Spatial Dimensions
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National Register of Historic Places Registration Form
NPS Form 10-900 OMB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and narrative items on continuation sheets if needed (NPS Form 10-900a). 1. Name of Property historic name Davenport Downtown Commercial Historic District other names/site number Name of Multiple Property Listing (Enter "N/A" if property is not part of a multiple property listing) 2. Location street & number Downtown Davenport 2nd St. to 5th St., Perry St. to Western Ave. not for publication city or town Davenport vicinity state Iowa county Scott zip code 52801 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this X nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property X meets does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: national statewide X local Applicable National Register Criteria: X A B X C D Signature of certifying official/Title: Deputy State Historic Preservation Officer Date State Historical Society of Iowa State or Federal agency/bureau or Tribal Government In my opinion, the property meets does not meet the National Register criteria.
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National Register of Historic Places Inventory -- Nomination Form
Form No. 10-300 (Rev 10-74) UNlThDSTA I I-.SDLPARTMKN!PBFTHL INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS 1NAME HISTORIC Bayard - Condict Building AND/OR COMMON LOCATION STREETS NUMBER 65-69 Bleecker Street _ NOTFORPUBLICAllOhJ CITY. TOWN CONGRESSIONAL DISTRICT New York __ VICINITY OF 18th STATE CODE COUNTY CODE New York New York CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE —DISTRICT —PUBLIC ^-OCCUPIED —AGRICULTURE —MUSEUM XXBUILDING(S) ^PRIVATE —UNOCCUPIED ^COMMERCIAL —PARK —STRUCTURE —BOTH -J/VORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT —IN PROCESS XX_YES: RESTRICTED —GOVERNMENT ..-SCIENTIFIC —BEING CONSIDERED — YES. UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —NO —MILITARY —OTHER OWNER OF PROPERTY NAME Kerway Realty Company,_ JMr. Elgin Shulsky, President STREET & NUMBER 307 Fifth Avenue CITY. TOWN STATE New York VICINITY OF Mew York LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REGISTRY OF DEEDS,ETC County Hal] of R STREET & NUMBER 31 Chambers Street CITY. TOWN STATE New York New York REPRESENTATION IN EXISTING SURVEYS TITLE HABS DATE 1968 X.FEDERAL —STATE __COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Library of Congress CITY. TOWN STATE Washington D.C. DESCRIPTION CONDITION CHECK ONE CHECK ONE —EXCELLENT —DETERIORATED _UNALTERED X)fc>RIGINALSITE GOOD RUINS X_ALTERED MOVFD DATF X_FAIR _UNEXPOSED DESCRIBETHE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The Bayard-Condict Building rises 12 stories and is rectangular in plan. The Bleecker Street facade (facing south) is five bays wide. It rises from a concrete base, laid on sand and gravel with foundation walls of brick, 16 inches thick.
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A Preservation and Redevelopment Plan for Louis Sullivan's Home
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2009 A PRESERVATION AND REDEVELOPMENT PLAN FOR LOUIS SULLIVAN’S HOME BUILDING ASSOCIATION BUILDING IN NEWARK, OHIO Alexander Balloon University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/hp_theses Balloon, Alexander, "A PRESERVATION AND REDEVELOPMENT PLAN FOR LOUIS SULLIVAN’S HOME BUILDING ASSOCIATION BUILDING IN NEWARK, OHIO" (2009). Theses (Historic Preservation). 133. https://repository.upenn.edu/hp_theses/133 A THESIS in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements of the Degree of MASTER OF SCIENCE IN HISTORIC PRESERVATION 2009 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/133 For more information, please contact [email protected]. A PRESERVATION AND REDEVELOPMENT PLAN FOR LOUIS SULLIVAN’S HOME BUILDING ASSOCIATION BUILDING IN NEWARK, OHIO Comments A THESIS in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements of the Degree of MASTER OF SCIENCE IN HISTORIC PRESERVATION 2009 This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/133 A PRESERVATION AND REDEVELOPMENT PLAN FOR LOUIS SULLIVAN’S HOME BUILDING ASSOCIATION BUILDING IN NEWARK, OHIO Alexander Balloon A THESIS in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements of the Degree of MASTER OF SCIENCE IN HISTORIC PRESERVATION 2009 _________________________ Advisor David G. De Long Professor of Architecture _________________________ Program Chair Frank G. Matero Professor of Architecture ii ACKNOWLEDGEMENTS I would like to first acknowledge my advisor, Professor David G.
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(1997 – 2012) 111 North 16Th Street … FL 1
The Society of Architectural Historians: Missouri Valley Chapter Newsletter Index (1997 – 2012) 111 North 16 th Street … FL’09 (6) 6164 Washington … SP’06A (5) 1166 Pembroke Avenue … SU’03 (1-2) 6272 Cabanne … SP’06A (6-7) 1423 Francis Avenue … W’02 (1) 631 Hall Street … SP’07 (2) 1520 S. Grand … FL’04A (2-3) 6915 Amherst … FL’04B (2) 18 th & 19 th Century Architecture … SU’00 (1) 7064 Kingsbury … W’07A (2) 19 th Century Architecture … W’01 (1-5), SP’02 714 Broadway … FL’98 (5) (5-6), SU’02 (4-7), FL’02 (1-8), SP’03 (2-4), W’04A (1-4), FL’06 (5), W’06 (1-8), SU’09B (1-8), 811 Meriwether Street … SP’07 (1-2) FL’10B (1-10), W’10B (1-2) A.A. Fischer Architectural & Building Company 19 th & 20 th Century Architecture … SP’97 (1), … SP’06A (2-5) W’97 (2-5), SU’98 (3-5), FL’99 (1-3), SP’01 (5), A Concise History of American Architecture … SU’01 (1-2) SU’99 (2-3) 1916 Democratic Convention … W’10A (6) A-frame churches … SP’05 (4) 1960 Architecture … SP’01 (8) A History of Architecture: Settings and Rituals … 2244 S. Jefferson … SP’06A (2) SU’99 (2-3) A History of Western Architecture (1986)… 2601 South Warson Rd. … SU’09A (6) SU’99 (2-4) 27 th Street Viaduct … SP’98 (5) A History of Western Architecture (1989)… 2715 W. High Street … SU’06A (6) SU’99 (2, 4) 3655 Flora … SP’06 A (4) A.S.B.
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Louis Sullivan C R E a T I N G a N E W a M E R I C a N Architecture
Louis Sullivan C R E A T I N G A N E W A M E R I C A N ARCHITECTURE PATRICK F. CANNON Photography by JAMES CAULFIELD Reaching for the Sky Problem: How shall we hicago has long laid claim to being the birthplace of the modern skyscraper. While impart to this sterile pile, the genesis of the engineering techniques that permitted buildings to rise ever higher is a long one, there seems little doubt that they came together for the first time in the ten- this crude, harsh, brutal C story Home Insurance Building of 1885, designed by William Le Baron Jenney. agglomeration, this Jenney was a trained engineer turned architect. Despite the Home Insurance Build- stark, staring exclamation ing’s steel frame and masonry nonbearing curtain wall construction, it was just a taller of eternal strife, the version of its neighbors. No attempt was made to express its verticality; indeed, it had no graciousness of those higher fewer than four horizontal bands dividing its façade into five separate units. forms of sensibility and Many of Adler & Sullivan’s office building designs of that time and earlier weren’t unlike the Home Insurance Building. But when the firm began to exploit the new struc- culture that rest on the lower tural possibilities available with steel framing, Sullivan began to think seriously about and fierce passions? How how best to emphasize the new buildings’ most obvious feature—their height. shall we proclaim from the The late 1880s were busy years for the firm, not least because of the extreme dizzy height of this strange, demands of designing and constructing the Auditorium Building, begun in 1886 but weird, modern housetop not finished until 1889.
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Renaissance Architecture
CHICAGO SCHOOL & WORKS OF LOUIS SULLIVAN Lesson 6 INTRODUCTION TO CHICAGO SCHOOL The Chicago school was a style that developed as a result of the Great Fire of Chicago in 1871. Before the fire, buildings were built of huge amounts of stone, and could not be very high. Growing use of the elevator, and the steel skeleton, the buildings grew taller and taller. The steel structure also allowed windows to be made bigger. Architects were encouraged to build higher structures because of the escalating land prices Conscious of the possibilities of the new materials and structures they developed buildings in which: Isolated footing supported a skeleton of iron encased in masonry There were: fireproof floors, numerous fast elevators and gas light The traditional masonry wall became curtains, full of glass, supported by the metal skeleton The first skyscrapers were born. • Chicago's architecture is famous throughout the world and one style is referred to as the Chicago School. • The style is also known as Commercial style. In the history of architecture, the Chicago School was a school of architects active in Chicago at the turn of the 20th century. • They were among the first to promote the new technologies of steel-frame construction in commercial buildings, and developed a spatial aesthetic which co-evolved with, and then came to influence, parallel developments in European Modernism. • A "Second Chicago School" later emerged in the 1940s and 1970s which pioneered new building technologies and structural systems such as the tube-frame structure. • Some of the distinguishing features of the Chicago School are the use of steel-frame buildings with masonry cladding (usually terra cotta), allowing large plate-glass window areas and limiting the amount of exterior ornamentation.
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Adler and Sullivan Initially Achieved Fame As Theater Architects
Adler and Sullivan initially achieved fame as theater architects. While most of their theaters were in Chicago, their fame won commissions as far west as Pueblo, Colorado, and Seattle, Washington (unbuilt). The culminating project of this phase of the firm's history was the 1889 Auditorium Building in Chicago, an extraordinary mixed-use building which included not only a 3000-seat theater, but also a hotel and office building. Adler and Sullivan reserved the top floor of the tower for their own office. After 1889 the firm became known for their office buildings, particularly the 1891 Wainwright Building in St. Louis and the 1899 Carson Pirie Scott Department Store on State Street in Chicago, Louis Sullivan is considered by many to be the first architect to fully imagine and realize a rich architectural vocabulary for a revolutionary new kind of building: the steel high-rise. [edit] Sullivan and the steel high-rise Prior to the late 19th century, the weight of a multistory building had to be supported principally by the strength of its walls. The taller the building, the more strain this placed on the lower sections of the building; since there were clear engineering limits to the weight such "load-bearing" walls could sustain, large designs meant massively thick walls on the ground floors, and definite limits on the building's height. The development of cheap, versatile steel in the second half of the 19th century changed those rules. America was in the midst of rapid social and economic growth that made for great opportunities in architectural design.
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Louis Henry Sullivan) Louis Henry Sullivan
Nicholas Gardin 12 February 2018 (Pictured: ABOVE- Louis Henry Sullivan) Louis Henry Sullivan Louis Henry Sullivan was born in Boston, Massachusetts on September 3rd, 1856. His father was an Irish immigrant named Patrick Sullivan and his mother was Andrienne List, a Swiss immigrant. They had immigrated to the United States in the late 1840s-early 1850s before meeting and getting married in 1852. Louis was the second child, preceded by his brother, Albert Walter Sullivan.1 Living in the city, but spending a lot of time on his grandparents’ farm, Louis Sullivan developed an acute attention to detail and its natural forms and functions. His understanding of these forms and functions in his architecture can be attributed to the time he spent on the farm as a child. Later in life, Sullivan coined the phrase, “Form follows function”, which was an important, influential precedence in his design work and the architectural period 1 Berman, Andrew. “The Death and Life of Louis Sullivan.” Gardin 2 that he was active during. He had developed an interest in looking at buildings throughout 2 Boston, specifically the Masonic Temple on Tremont and Boylston Street. (Pictured: LEFT: Masonic Temple) In his own account in his autobiography, Sullivan remembers seeing, “...a large man of dignified bearing, with beard, top hat, and frock coat, come out of a nearby building, enter his carriage, and signal the coachman to drive on.”3 Upon discovering that this dignified man was an architect, Louis Sullivan promptly decided that he wanted to be an architect as well. After childhood, Sullivan began to attend the Massachusetts Institute of Technology (M.I.T.) in 1872.
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